This CD reissue of Gil Evans' There Comes a Time differs greatly from the original LP of the same name. Not only are there three previously unreleased performances ("Joy Spring," "So Long," and "Buzzard Variation"), but "The Meaning of the Blues" has been expanded from six minutes to 20, and two numbers, "Little Wing" and "Aftermath the Fourth Movement/Children of the Fire," have been dropped (the former was reissued on Evans' Jimi Hendrix tribute album) and the remaining four tracks were re-edited and remixed under Evans' direction. So in reality, this 1987 CD was really a "new" record when it came out. The remake of "King Porter Stomp," with altoist David Sanborn in Cannonball Adderley's spot, is a classic. The "new" version of "The Meaning of the Blues" is memorable, and overall the music (which also has solos by Billy Harper and George Adams on tenors, along with trumpeter Lew Soloff) is quite rewarding, it's a creative big band fusion that expertly mixes together acoustic and electric instruments. This was one of Gil Evans' last truly great sets. [This is the original issue without the bonus tracks.] Scott Yanow Tracklist & Credits :
After the success of his studio sessions of the early to mid-'70s, Gil Evans primarily recorded live in concert during the remainder of his career. This is one of the better sets, for although two of the four selections are over 12 minutes long ("Priestess" exceeds 19 1/2 minutes), the music is generally under control. Evans's eccentric 16-piece group consists of three trumpets, trombone, French horn, two tubas, three saxes and a five-piece rhythm section including Pete Levin on synthesizer. With such soloists as altoists David Sanborn and Arthur Blyte, trumpeter Lew Soloff and George Adams on tenor, the music is quite stimulating and exciting. Scott Yanow
Tracklist & Credits :
Gil Evans ran into his share of would-be defenders of his "tradition" when he began experimenting with rock songs and electronic instruments in the '70s and '80s. One of jazz's greatest arrangers was suddenly viewed as a charlatan in certain circles, and a band loaded with great players was now being dismissed as a crew of frauds. This second volume of songs done live during the band's long run as Sweet Basil's regular Monday night attraction proves decisively that neither Evans nor his band lost anything. The versions of Shorter's "Parabola" and Hancock's "Prince of Darkness" are multi-faceted and compare favorably with almost anything done by any previous Evans aggregation. It may not have been "cool," but it was most assuredly great jazz. Ron Wynn Tracklist & Credits :
An exploration of the traces left by Celtic music on its journey from European music into jazz. In "Jazz at Berlin Philharmonic," ...
